Alaqua Cox’s character Maya Lopez, the adopted daughter of the supervillain Kingpin, made her debut in Jonathan Igla’s Hawkeye (2021). The character, also referred to as Echo, is among the few deaf comic book characters. Following that, the actress played the lead role in the spin-off series Echo (2024), which co-starred Charlie Cox as Matt Murdock/Daredevil.
Alaqua Cox in and as Echo
It remains to be seen where Cox’s character will appear following the conclusion of the Echo finale, but Marvel Studios is obviously putting time, resources, and efforts into the new fan-favorite character. The actress, 27, recently discussed what she is looking forward to from the potential second season. Cox’s wish to join forces with Daredevil, a street-level superhero from the Marvel Cinematic Universe, is what has everyone’s attention.
Alaqua Cox’s Ambitions to Join Forces with Daredevil
Previously, Alaqua Cox spoke with Screen Rant about...
Alaqua Cox in and as Echo
It remains to be seen where Cox’s character will appear following the conclusion of the Echo finale, but Marvel Studios is obviously putting time, resources, and efforts into the new fan-favorite character. The actress, 27, recently discussed what she is looking forward to from the potential second season. Cox’s wish to join forces with Daredevil, a street-level superhero from the Marvel Cinematic Universe, is what has everyone’s attention.
Alaqua Cox’s Ambitions to Join Forces with Daredevil
Previously, Alaqua Cox spoke with Screen Rant about...
- 4/9/2024
- by Siddhika Prajapati
- FandomWire
Television Academy chairman/CEO Frank Scherma, whose first two-year term turned into three due to the Covid-19 pandemic, has been re-elected to lead the organization for two more years. Scherma is part of the roster of newly elected officers and members on the Academy’s Board of Governors who were tapped on Thursday to serve starting Jan. 1, 2022, through Dec. 31, 2023.
Scherma, the president and co-founder of RadicalMedia, hails from the commercials and producers peer groups. Joining him in key leadership positions are vice chair Sharon Lieblein (from the casting directors peer group); second vice chair Rickey Minor (music), secretary Allison Binder (professional representatives) and treasurer Ann Leslie Uzdavinis (commercials).
Scherma will continue to work closely with TV Academy president/COO Maury McIntyre to shape the TV Academy’s direction. Scherma’s first term was rocked by the pandemic and its impact on two years of Emmy Awards. But also under his...
Scherma, the president and co-founder of RadicalMedia, hails from the commercials and producers peer groups. Joining him in key leadership positions are vice chair Sharon Lieblein (from the casting directors peer group); second vice chair Rickey Minor (music), secretary Allison Binder (professional representatives) and treasurer Ann Leslie Uzdavinis (commercials).
Scherma will continue to work closely with TV Academy president/COO Maury McIntyre to shape the TV Academy’s direction. Scherma’s first term was rocked by the pandemic and its impact on two years of Emmy Awards. But also under his...
- 11/19/2021
- by Michael Schneider
- Variety Film + TV
Frank Scherma has been re-elected for a second term as Chairman and CEO of the Television Academy, which announced its newly elected board and governors for 2022-23 today.
Joining Scherma, who’s from the Academy’s Commercials and Producers peer groups, for two-year terms starting January 1 are Vice Chair Sharon Lieblein (Casting Directors), Second Vice Chair Rickey Minor (Music), Secretary Allison Binder (Professional Representatives) and Treasurer Ann Leslie Uzdavinis (Commercials).
The Academy noted that a record 41% of those elected are new to its boardroom, including two governors representing the newly created Science & Technology Peer Group.
Here are the 25 newly elected board members and their peer groups:
Anya Adams (Directors)
Kaz Aizawa (Animation)
Wendy Aylsworth (Science & Technology)
Edward H. Bonin (Special Visual Effects)
Shannon Buck (Public Relations)
Nikki Carbonetta (Makeup Artists/Hairstylists)
Sherri Chung (Music)
Ana Criado (Motion & Title Design)
Nicole Demerse (Writers)
Nena Erb (Picture Editors)
Kim Estes (Performers)
Scott A.
Joining Scherma, who’s from the Academy’s Commercials and Producers peer groups, for two-year terms starting January 1 are Vice Chair Sharon Lieblein (Casting Directors), Second Vice Chair Rickey Minor (Music), Secretary Allison Binder (Professional Representatives) and Treasurer Ann Leslie Uzdavinis (Commercials).
The Academy noted that a record 41% of those elected are new to its boardroom, including two governors representing the newly created Science & Technology Peer Group.
Here are the 25 newly elected board members and their peer groups:
Anya Adams (Directors)
Kaz Aizawa (Animation)
Wendy Aylsworth (Science & Technology)
Edward H. Bonin (Special Visual Effects)
Shannon Buck (Public Relations)
Nikki Carbonetta (Makeup Artists/Hairstylists)
Sherri Chung (Music)
Ana Criado (Motion & Title Design)
Nicole Demerse (Writers)
Nena Erb (Picture Editors)
Kim Estes (Performers)
Scott A.
- 11/19/2021
- by Erik Pedersen
- Deadline Film + TV
This year, the Television Academy nominated six women across the six cinematography categories. Though their field remains largely dominated by men, these women identify shifts in hiring practices as a step toward more diversity on set.
Issa Rae’s HBO comedy series Insecure scored a pair of cinematography nominations for the single-camera, half-hour show: Ava Berkofsky for the episode “Lowkey Lost” and Kira Kelly for “Lowkey Happy” (which Berkofsky directed). Berkofsky points to a culture of inclusion on the set, which impacts the work onscreen. “Diversity is discussed at the beginning of every hiring process,” she says. “...
Issa Rae’s HBO comedy series Insecure scored a pair of cinematography nominations for the single-camera, half-hour show: Ava Berkofsky for the episode “Lowkey Lost” and Kira Kelly for “Lowkey Happy” (which Berkofsky directed). Berkofsky points to a culture of inclusion on the set, which impacts the work onscreen. “Diversity is discussed at the beginning of every hiring process,” she says. “...
- 8/28/2020
- The Hollywood Reporter - Film + TV
This year, the Television Academy nominated six women across the six cinematography categories. Though their field remains largely dominated by men, these women identify shifts in hiring practices as a step toward more diversity on set.
Issa Rae’s HBO comedy series Insecure scored a pair of cinematography nominations for the single-camera, half-hour show: Ava Berkofsky for the episode “Lowkey Lost” and Kira Kelly for “Lowkey Happy” (which Berkofsky directed). Berkofsky points to a culture of inclusion on the set, which impacts the work onscreen. “Diversity is discussed at the beginning of every hiring process,” she says. “...
Issa Rae’s HBO comedy series Insecure scored a pair of cinematography nominations for the single-camera, half-hour show: Ava Berkofsky for the episode “Lowkey Lost” and Kira Kelly for “Lowkey Happy” (which Berkofsky directed). Berkofsky points to a culture of inclusion on the set, which impacts the work onscreen. “Diversity is discussed at the beginning of every hiring process,” she says. “...
- 8/28/2020
- The Hollywood Reporter - Movie News
IndieWire reached out to this year’s nominees for Outstanding Cinematography for a Single-Camera Series (One Hour), Single-Camera Series (Half-Hour), and Limited Series or Movie, and asked them which cameras and lenses they used — but even more important: Why were these these the right tools to create the look of their series? The nominees answers are aggregated below:
Outstanding Cinematography for a Single-Camera Series (Half-Hour)
“The End of the F***ing World”
Nominated Episode: Episode 2
Format: 4.5K Pro-Res 4444 Xq 16:9 crop
Camera: Arri Alexa Lf
Lens: Zeiss Supreme Primes. 99% of the show was on 35mm, 50mm, 65mm. Zeiss Cpz Zooms.
Benedict Spence: From the beginning, director Lucy Forbes and I wanted the show to have an honest, minimalist, but very filmic aesthetic. Season 1, shot on Red, had a strong look but we wanted to push it further. We wanted a mixture of the starkness of the original graphic novel,...
Outstanding Cinematography for a Single-Camera Series (Half-Hour)
“The End of the F***ing World”
Nominated Episode: Episode 2
Format: 4.5K Pro-Res 4444 Xq 16:9 crop
Camera: Arri Alexa Lf
Lens: Zeiss Supreme Primes. 99% of the show was on 35mm, 50mm, 65mm. Zeiss Cpz Zooms.
Benedict Spence: From the beginning, director Lucy Forbes and I wanted the show to have an honest, minimalist, but very filmic aesthetic. Season 1, shot on Red, had a strong look but we wanted to push it further. We wanted a mixture of the starkness of the original graphic novel,...
- 8/20/2020
- by Chris O'Falt
- Indiewire
What could “inclusion riders” — or truly inclusive hiring — do for Hollywood? Maurício Mota, co-president of Wise Entertainment and an executive producer of Hulu’s “East Los High,” explains.
When Frances McDormand introduced the wider world to the phrase “inclusion rider” during the 2018 Oscars, it had an effect almost immediately. Weeks later, the production companies of Michael B. Jordan, Ben Affleck and Matt Damon, and Paul Feig were among those jumping on board, saying they would adhere to the riders’ mandate to include certain percentages of employees from traditionally marginalized groups. Endeavor’s Ari Emanuel even wrote a memo supporting inclusion riders.
So what will all that do? Let me supply just one set of examples, drawn from several years’ worth of experience with our Hulu show, “East Los High.”
What happened with “East Los High” is proof of what happens when you hire from traditionally excluded groups. Given a real chance,...
When Frances McDormand introduced the wider world to the phrase “inclusion rider” during the 2018 Oscars, it had an effect almost immediately. Weeks later, the production companies of Michael B. Jordan, Ben Affleck and Matt Damon, and Paul Feig were among those jumping on board, saying they would adhere to the riders’ mandate to include certain percentages of employees from traditionally marginalized groups. Endeavor’s Ari Emanuel even wrote a memo supporting inclusion riders.
So what will all that do? Let me supply just one set of examples, drawn from several years’ worth of experience with our Hulu show, “East Los High.”
What happened with “East Los High” is proof of what happens when you hire from traditionally excluded groups. Given a real chance,...
- 4/11/2018
- by Mauricio Mota
- Variety Film + TV
Before you completely check out for the year, make sure you take note of this week’s events. We’ve got you covered on industry connection-makers, special panels, even an up-close-and-personal visit with the “Stranger Things” set. A couple are a little further in advance to make sure you get access, so consider that a special holiday gift from us to you. Honor women in media.Join cinematographer Nancy Schreiber (“Better Things,” “Your Friends and Neighbors”), composer Germaine Franco (“Coco,” “Fargo [T.V.]”), cinematographer Kira Kelly (“Queen Sugar,” “East Los High”), and writer/director Amy Holden Jones (“Indecent Proposal,” “Mystic Pizza”) in conversation at Women in Media’s Holiday Lunch Celebration on Dec. 17. Open to all genders, events include a mixer, panel, and, of course, food, so this inspiring afternoon is well worth admission price. (Tickets: $30-115) Go behind the scenes of “The Path” with its stars.Though it’s technically more...
- 12/14/2017
- backstage.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.